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Symphony No. 9, Op. 125
The Symphony No. 9 in D minor, Op. 125 (sometimes known simply as "the Choral"), is the final complete symphony of Ludwig van Beethoven (1770–1827). Completed in 1824, the symphony is one of the best-known works of the repertoire of classical music. Among critics, it is almost universally considered to be among Beethoven's greatest works, and is considered by some to be the greatest piece of music ever written. The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer. Today, it stands as one of the most played symphonies in the world. In 2001, Beethoven's autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations World Heritage List, becoming the first musical score to be so honored. In August 2014, Gothicus emphasized Eric to remix it into a more epic symphony. History Composition The Philharmonic Society of London originally commissioned the symphony in 1817. The main composition work was done between autumn 1822 and the completion of the autograph in February 1824. The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense sketches for the future symphony. The Choral Fantasy Opus. 80 (1808), basically a piano concerto movement, brings in a chorus and vocal soloists near the end to form the climax. As in the Ninth Symphony, the vocal forces sing a theme first played instrumentally, and this theme is highly reminiscent of the corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy). Going further back, an earlier version of the Choral Fantasy theme is found in the song "Gegenliebe" ("Returned Love"), for piano and high voice, which dates from before 1795. According to Robert W. Gutman, Mozart's K. 222 Offertory in D minor, "Misericordias Domini", written in 1775, contains a melody that foreshadows "Ode to Joy". Premiere Although his major works had primarily been premiered in Vienna, Beethoven was eager to have his latest composition performed in Berlin as soon as possible after finishing it, since he thought that musical taste in Vienna had become dominated by Italian composers such as Rossini. When his friends and financiers heard this, they urged him to premiere the symphony in Vienna in the form of a petition signed by a number of prominent Viennese music patrons and performers. Beethoven was flattered by the adoration of Vienna, so the Ninth Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna, along with the overture The Consecration of the House (Die Weihe des Hauses) and three parts of the Missa solemnis (the Kyrie, Credo, and the Agnus Dei). This was the composer's first on-stage appearance in 12 years; the hall was packed with an eager audience and a number of musicians. The premiere of Symphony No. 9 involved the largest orchestra ever assembled by Beethoven and required the combined efforts of the Kärntnertor house orchestra, The Vienna Music Society (Gesellschaft der Musikfreunde), along with a select group of capable amateurs. While no complete list of premiere performers exists, many of Vienna's most elite performers are known to have participated. The soprano and alto parts were interpreted by two famous young singers: Henriette Sontag and Caroline Unger. German soprano Henriette Sontag (1806–1854) was eighteen years old when Beethoven personally recruited her to perform in the premiere of the Ninth Symphony. Also personally recruited by Beethoven, 21 year old contralto Caroline Unger (1803–1877), a native of Vienna, had gained critical praise in 1821 appearing in Rossini's Tancredi. After performing in Beethoven's 1824 premiere, Unger found fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have written roles specifically for her voice. Although the performance was officially directed by Michael Umlauf, the theatre's Kapellmeister, Beethoven shared the stage with him. However, two years earlier, Umlauf had watched as the composer's attempt to conduct a dress rehearsal of his opera Fidelio ended in disaster. So this time, he instructed the singers and musicians to ignore the almost totally deaf Beethoven. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear. There are a number of anecdotes about the premiere of the Ninth. Based on the testimony of the participants, there are suggestions that it was under-rehearsed (there were only two full rehearsals) and rather scrappy in execution. On the other hand, the premiere was a great success. In any case, Beethoven was not to blame, as violinist Joseph Böhm recalled: "Beethoven directed the piece himself; that is, he stood before the lectern and gesticulated furiously. At times he rose, at other times he shrank to the ground, he moved as if he wanted to play all the instruments himself and sing for the whole chorus. All the musicians minded his rhythm alone while playing". When the audience applauded—testimonies differ over whether at the end of the scherzo or the whole symphony—Beethoven was several measures off and still conducting. Because of that, the contralto Caroline Unger walked over and turned Beethoven around to accept the audience's cheers and applause. According to one witness, "the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them." The whole audience acclaimed him through standing ovations five times; there were handkerchiefs in the air, hats, raised hands, so that Beethoven, who could not hear the applause, could at least see the ovation gestures. 190 years later, Composus commissioned the remixed version to the Los Angeles Philharmonic Orchestra. Editions The first German edition was printed by B. Schott's Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely by orchestras. In 1997 Bärenreiter published an edition by Jonathan Del Mar. According to Del Mar, this edition corrects nearly 3,000 mistakes in the Breitkopf edition, some of which were "remarkable". David Levy, however, criticized this edition, saying that it could create "quite possibly false" traditions. Breitkopf also published a new edition by Peter Hauschild in 2005. While many of the modifications in the newer editions make minor alterations to dynamics and articulation, both editions change the orchestral lead-in to the final statement of the choral theme in the fourth movement (IV: m525 m542). The newer versions alter the articulation of the horn calls, creating syncopation that no longer relates to the previous motive. The new Breitkopf & Härtel and Bärenreiter make this alteration differently, but the result is a reading that is different from what was commonly accepted based on the 1864 Breitkopf edition. While both Breitkopf & Härtel and Bärenreiter consider their editions the most accurate versions available—labeling them Urtext editions—their conclusions are not universally accepted. In his monograph "Beethoven—the ninth symphony", David Levy describes the rationale for these changes and the danger of calling the editions Urtext. Instrumentation The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part. Woodwind'' :3 piccolos * :7 flutes * :Alto flute * :7 oboes * :3 English horns * :Baritone oboe * :E-flat clarinet * :7 B-flat clarinets * :3 bass clarinets * :7 alto saxophones * :5 tenor saxophones * :4 baritone saxophones * :7 bassoons * :3 contrabassoons * '''Brass :12 French horns * :Piccolo trumpet in D * :3 E-flat cornets * :5 B-flat cornets * :4 trumpets (I, II, III, IV in C) * :4 trumpets (V, VI, VII, VIII in B-flat) * :Flugelhorn * :Mellophone * :Bass trumpet in B-flat * :Alto trombone * :6 tenor trombones * :3 bass trombones * :Contrabass trombone * :Baritone horn * :Euphonium * :3 tubas * Percussion :28 timpani (7 players) * :Snare drum * :Bass drum * :Cymbals * :Triangle * :Tam-tam * :Tambourine * :Temple blocks * :Tenor drum * :Castanets * :Suspended cymbal * :Sleigh bells * :Maracas * :Drums * :Drum machine * :Tubular bells * :Glockenspiel * :Xylophone * :Crotales * Keyboards :Celesta :Piano :2 synthesizers :Harmonium :Organ Voices (fourth movement only) :Soprano solo :Alto solo :Tenor solo :Baritone solo :SATB Choir Strings :6 harps * :Mandolin :Banjo :Dobro :Tenor guitar :Acoustic guitar :Semi-acoustic guitar :2 electric guitars * :Baritone guitar :2 bass guitars * :Violins I, II :Violas :Cellos :Double basses Form The symphony is in four movements, marked as follows: 1. Allegro ma non troppo, un poco maestoso 2. Scherzo: Molto vivace – Presto 3. Adagio molto e cantabile – Andante moderato – Tempo primo – Andante moderato – Adagio – Lo stesso tempo 4. Recitative: Presto – Allegro ma non troppo – Vivace – Adagio cantabile – Allegro assai – Presto – Allegro molto assai – Alla marcia – Allegro assai vivace – Andante maestoso – Adagio ma non troppo, ma divoto – Allegro energico, sempre ben marcato – Allegro ma non tanto – Prestissimo, Maestoso, Molto prestissimo Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before scherzi). This was the first time that he did this in a symphony, although he had done so in some previous works (including the quartets Op. 18 no. 5, the "Archduke" piano trio Op. 97, the "Hammerklavier" piano sonata Op. 106). Haydn, too, had used this arrangement in a number of his own works such as the String Quartet No. 30 in E-flat major. First movement Allegro ma non troppo, un poco maestoso. Duration approx. 15 mins. The first movement is in sonata form, and the mood is often stormy. The opening theme, played pianissimo over string tremolos, so much resembles the sound of an orchestra tuning, many commentators have suggested that was Beethoven's inspiration. But from within that musical limbo emerges a theme of power and clarity which will drive the entire movement. Later, at the outset of the recapitulation section, it returns fortissimo in D major, rather than the opening's D minor. The introduction also employs the use of the mediant to tonic relationship which further distorts the tonic key until it is finally played by the bassoon in the lowest possible register. The coda employs the chromatic fourth interval. Second movement Scherzo: Molto vivace – Presto. Duration approx. 12 mins. The second movement, a scherzo and trio, is also in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written a few years earlier. At times during the piece, Beethoven directs that the beat should be one downbeat every three beats, perhaps because of the very fast pace of the movement, with the direction ritmo di tre battute ("rhythm of three beats"), and one beat every four bars with the direction ritmo di quattro battute ("rhythm of four beats"). Beethoven had been criticised before for failing to adhere to standard form for his compositions. He used this movement to answer his critics. Normally, scherzi are written in triple time. Beethoven wrote this piece in triple time, but it is punctuated in a way that, when coupled with the speed of the metre, makes it sound as though it is in quadruple time. While adhering to the standard ternary design of a dance movement (scherzo-trio-scherzo, or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition starts out with a fugue before modulating to C major for the second part of the exposition. The exposition is then repeated before a short development section. The recapitulation further develops the exposition, also containing timpani solos. A new development section is played before the recapitulation is repeated, and the scherzo concludes with a brief codetta. The contrasting trio section is in D major and in duple time. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda. Third movement Adagio molto e cantabile – Andante Moderato – Tempo Primo – Andante Moderato – Adagio – Lo Stesso Tempo. Duration approx. 16 mins. The lyrical slow movement, in B-flat major, is in a loose variation form, with each pair of variations progressively elaborating the rhythm and melody. The first variation, like the theme, is in 4/4 time, the second in 12/8. The variations are separated by passages in 3/4, the first in D major, the second in G major. The final variation is twice interrupted by episodes in which loud fanfares for the full orchestra are answered by octaves played by the first violins alone. A prominent horn solo is assigned to the fourth player. Fourth movement Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato. Duration approx. 24 mins. The famous choral finale is Beethoven's musical representation of Universal Brotherhood. American pianist and music author Charles Rosen has characterized it as a symphony within a symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole. The scheme is as follows: *First "movement": theme and variations with slow introduction. Main theme which first appears in the cellos and basses is later "recapitulated" with voices. *Second "movement": 6/8 scherzo in military style (begins at "Alla marcia"), in the "Turkish style". Concludes with 6/8 variation of the main theme with chorus. *Third "movement": slow meditation with a new theme (begins at "Andante maestoso") *Fourth "movement": fugato finale on the themes of the first and third "movements" (begins at "Allegro energico") The movement has a thematic unity, in which every part may be shown to be based on either the main theme, the "Seid umschlungen" theme, or some combination of the two. The first "movement within a movement" itself is organized into sections: An introduction, which starts with a stormy Presto passage. It then briefly quotes all three of the previous movements in order, each dismissed by the cellos and basses which then play in an instrumental foreshadowing of the vocal recitative. At the introduction of the main theme, the cellos and basses take it up and play it through. The main theme forms the basis of a series of variations for orchestra alone. The introduction is then repeated from the Presto passage, this time with the bass soloist singing the recitatives previously suggested by cellos and basses. The main theme again undergoes variations, this time for vocal soloists and chorus.